The CD series "El Bandoneón" (from Blue Moon) is a very good edition that has made available a lot of good tango music to us, Europeans. Unfortunately, there are some errors to be found in the accompanying documentation.
Does it mean that I am angry with Blue Moon ? Certainly not...  I only hope that the amendments presented here will be useful to those who are interested in the history of tango and the stylistic evolution of tango orchestras.
Blue Moon is not an exception, there are other labels, even Argentinian ones, which have distributed poorly documented CDs, I have added some examples...

As I have written here before, I thought that Blue Moon never seemed very eager at promoting their series through Internet. Royce (from Hong Kong) has informed me (thanks !) that they do have a website :  BlueMoon which will redirect you to  freshsoundrecords . There is a "El Bandoneon" picture (that leads nowhere) but if you click on one of the CD covers (new releases, mostly not related to tango) you will get to a list of the labels among which you can select "El Bandoneón", and also "Maestros del Tango Argentino". "Las Grandes Orquestas del Tango", BMT 60x, and other more recent series are not listed as separate labels but can be accessed from the menu, under the "Maestros del Tango Argentino"-header.

Another catalogue that I know of, by  a third party, can be found at

It is also good to know that, in Argentina, Blue Moon is considered to be a "pirate" label and that they are convinced to have them out of business by now. I am not in a position to judge the first claim, and from what I see at the their website, and in local shops, I have doubts about the second. As late as 2003, El Bandoneón CDs were available in Buenos Aires (although the devaluation of the peso has made them very expensive there). An opposing point of view, by Mark Celaya, stating that Blue Moon acts according to Spanish and Swiss law can be found in a contribution to the Tango-L list.

If you want to contribute to this page, or, why not, correct the corrections, feel free to write at
A warm welcome to the first contributor : Mike Lavocah.

This page is dedicated to all the good friends at the "Cueva del Tango", and especially to the founder Peio, who made it all possible. I have learned so much there that without them this page would not have been possible.

Note: all dates are given in dd-mm-yyyy format.



07-2003 :  EB4 (Charlo) - EB109 (Juan D'Arienzo)- EB123 (La Guardia Vieja)- EB128 (La Guardia Vieja)
08-2003 :  EB34 (Miguel Caló)
10-2003 :  EB27 (Azucena Maizani)
10-2003 :  EB60 (Domingo Federico)
11-2003 :  EB10 (Lucio Demare)
03-2004 :  EB80 (Francisco Lomuto) - EB87 (Adolfo Carabelli)
09-2004 :  EB3 (Quinteto Pirincho), contributed by Mike Lavocah (
11-2004 :  EB82 (Pedro Laurenz)
01-2005 :  EB110 (Angel D'Agostino & Angel Vargas), contributed by Mike Lavocah
02-2005 :  EB95 (Edgardo Donato)

(more will be coming...???)
EB3 : Quinteto  Pirincho, dirección Francisco Canaro (1938)
Contributed by Mike Lavocah.

"Grabado en Buenos Aires, 1938". Actually, there is not a single track from 1938 on this excellent album. These are the correct recording dates:
 1  Pronto regreso 31-07-1947
 2  Milonga con variaciones  30-12-1942
 3  El trovero 30-12-1942
 4  Tierra Negra  19-06-1951      (not mentioned on the CD but the vocalist is Alberto Arenas)
 5  Milongón 07-04-1952
 6  La sonambula 14-10-1940
 7  El internado 14-05-1952
 8  La rezongona 22-05-1939
 9  Arrabalera 03-10-1950
10  A la gran muñeca 12-12-1951
11  Lunes 14-05-1952
12  El torito 03-10-1950
13  Recuerdos 15-11-1937
14 El pollito 31-07-1947

Track 13 was a bit of a mystery at first as "Recuerdos" (a polca) is not listed in Lefcovich's collosal discography of Francisco Canaro (over 3700 entries). But according to the researcher Jorge Finkielman the Quinteto did record this piece; so it seems it's missing from the discography. 

Finally, before mid October 1940 the Quinteto Pirincho was known as the Quinteto Don Pancho; tracks 6, 8 and 13 were thus recorded by this earlier group.

EB4 : Charlo, con Francisco Canaro & Francisco Lomuto (1928-1929)

Actually, this CD covers a larger period than claimed in the title : 1928-1937.
In those years, Charlo was extremely productive. With these 2 orchestras alone he recorded 752 titles, almost exclusively for Odeon, and not counting other recordings with the Orquesta Típica Víctor, Adolfo Carabelli, guitar accompaniment...

This is a typical week schedule for Charlo in those years :

Monday (17-09-1928) : 5 tangos recorded with Canaro as "cantor" (°)
Tuesday (18-09-1928) : 1 tango recorded with Canaro as "cantor"
Wednesday (19-09-1928) : 2 tangos recorded with Canaro as "cantor" and 3 more as "estribillista" (°)
Friday (21-09-1928) : 2 tangos recorded with Lomuto as "estribillista"

... and so it goes on and on ...

The track description on the CD for the tangos with Lomuto (1928-1929, tracks 14-18, all in "estribillista" style) seems right but there are some doubts with the Canaro part. The revised chronology is based on the discography of Charlo as published by Roberto Gutiérrez Miglio in "El Tango y sus Intérpretes" (Ed. Corregidor, 1992-99, Bs As)
Title and year of recording
acc. to EB4
Revised chronology
Tiempos Viejos, 1928 27-05-1937 ("cantor"), the "estribillista" version was recorded in 1931
Desconfiale, 1928 27-05-1937 ("cantor")
Remordimientos, 1928 08-12-1930 ("cantor"), the "estribillista" version was recorded in that same year
Nelly, 1928 04-10-1928 ("cantor"), the "estribillista" version was recorded a few weeks earlier
Tormento, 1928 30-11-1934 ("cantor")
Las Vueltas de la Vida, 1928 05-10-1928 ("cantor"), the "estribillista" version was recorded 2 days earlier
Teresita, 1928 21-11-1930 ("cantor"), the "estribillista" version was recorded 1 week earlier
Pasa el Amor, 1928 26-05-1937 ("cantor")
Lo Que Nunca te Dirán, 1928 13-08-1931 ("cantor"), the "estribillista" version was recorded in that same year
Mentir en Amor es Pecado, 1928  30-11-1934 ("cantor")
Yo También Soñé, 1928 31-12-1935 ("cantor")
Recuerdos del Corazón, 1928 24-11-1930 ("cantor"), the "estribillista" version was recorded 4 days later
Con tu Mirar, 1929 17-06-1930 ("estribillista")

When relistened according to the revised chronology (track order : 4/6, 3/7/12/13, 9, 5/10, 11, 1/2/8) the evolution in voice timbre becomes more logical, especially with the three 1937 versions taken together.

(°) "cantor" or "orchestra singer" as opposed to the "estribillista" or "refrain singer", here's an excellent article by Ricardo García Blaya on the history of singing in tango : EnglishSpanish-Español 1  (or Spanish-Español 2)
As an example, the 2 versions of "Tiempos Viejos" by Charlo are available here in mp3-format (11kHz/16kbps, 384 K  each)

 Charlo - Cantor (1937) (from this CD)
 Charlo - Estribillista (1931) (from the EMI Odeon edition, "Francisco Canaro - 20 Grandes Exitos")

EB10 - Lucio Demare "Tango Guapo"

There is a minor problem with the indication of the tracks sung by Juan Carlos Miranda (on the CD : track 8, "Vieja Ribera" and track 12, "Mañana Zarpo Un Barco"). Track 8 is by Raúl Berón. Not tracks 8 & 12 but track 1 ("Al Compás de un Tango") & 12 are by Juan Carlos Miranda.

More seriously, I don't believe that the version of "Malena" on this CD is sung by Roberto Arrieta. To me it sounds to be Juan Carlos Miranda as well.

EB27 - Azucena Maizani "La Ñata Gaucha"

"Grabado en Buenos Aires entre 1928 y 1935" ? OK, let us have a closer look...

- Tracks 10, 11, 13 and 16 ('con orquesta', "Lejos de mi tierra", "No sé porqué te quiero tanto", "Descreída", "Amanece") almost certainly are the recordings made with the orchestra of Terig Tucci in New York in 1938, the same orchestra with which Gardel recorded such classics as "Cuesta abajo", "Golondrinas", "Mi Buenos Aires querido", "Por una cabeza", "El dia que me quieras", "Volver" and others (1934-1935).

- Tracks 9 and 14 ("En esta soledad", "Liberata") with Vicente Demarco were recorded in 1943.

- After tracks 1-6 ('piano y guitarra', which means : with Enrique Delfino, piano and Manuel Parada, guitar, as is track 18, "Llevatelo todo") the voice in track 7, "Copa de ajenjo", sounds different. Very likely this is the recording with Francisco Trópoli, piano & the brothers Del Puerto, guitars, made in 1942, 14 years after the earlier ones, as is track 12, "Nuestra Cita".

- Tracks 8 ("Pensalo, muchacho", NOT "Pensalo, mucho" as in EB27, 1931), 15 ("Usted sabe, Señor juez", 1931) and 17 ("No salgas de tu barrio", in 1931, not 1933) were recorded in Spain. Only "Pensalo, muchacho" was also recorded in Buenos Aires, in that same year. On the related tracks 19 & 20 ("Monte Criollo"  and the second version of "Pero yo sé", 1935 instead of 1934) there seems to be some doubts about the accompaniment : Cúfaro and Zerillo (acc. to this edition and Todotango) or Enrique Delfino and Antonio Rodio (acc. to Roberto G. Miglio in his book "El tango y sus intérpretes")

EB34 - Miguel Caló y su Orq. [de las Estrellas] 1941-1945 - "Yo Soy El Tango"

Both Todo Tango (discography of Miguel Caló) and Roberto Miglio (discography of Alberto Podestá in "El Tango Y Sus Interpretes") are clear : some of the tracks with Alberto Podestá on this CD were not recorded in the 40s but much later :

 3. Qué Falta Que Me Hacés : 19-04-1963 (instead of 1941)
 4. La Cantina : 15-06-1954 (instead of 1941)
 7. Como Le Digo A La Vieja : also 15-06-1954 (instead of 1941)
 8. El Bazar de los Juguetes : 05-05-1954 (instead of 1941)

and, for the sake of completeness (although the difference with the true recording date remains small)

 5. Pedacito De Cielo : 02-09-1942 (instead of 1941)
 6. Percal : 25-02-1943 (instead of 1941)
15. Margo (with Roberto Iriarte this time) : 15-11-1945 (instead of 1944)

Alberto Podestá (true name Alejandro Washington Alé) started recording in 1941, with Miguel Caló. His artistic name at that time was Juan Carlos Morel. He recorded 4 titles : besides "Yo Soy El Tango" and "Bajo Un Cielo De Estrellas" on this CD, also "Dos Fracasos" (available on EB92) and "Me Casé Con Un Sargento". He left at the end of 1941, joined Carlos Di Sarli briefly, and returned in 1942 to Caló, this time as Alberto Podestá (name given by Di Sarli), recording "Pedacito De Cielo" (track 5). 18-year old Podestá repeated the movement : another brief passage with Di Sarli, and in 1943, another (equally) brief return to Caló, recording "Percal" (track 6).

The 1954 recordings (tracks 4, 7 and 8) are the result of another brief cooperation with Miguel Caló.

In 1961, Miguel Caló brought together again the former members of his "Orquesta de las Estrellas" (which had split in 1945) : Armando Pontier, Enrique Mario Francini, Domingo Federico and Orlando Trípodi replacing Osmar Maderna (who died in an airplane accident in 1951). This "reunion orchestra" recorded 12 tangos in 1963 : 4 instrumentals, 4 with Raúl Berón and 4 with Alberto Podestá, among them "Qué Falta Que Me Hacés" which appears on this CD.

EB60 - Domingo Federico 1944-1949 - "Saludos"

1944-1949 ? It just doesn't sound like that, at least not all of the time.

First let us start with the instrumentals.
Listen to tracks 1-"Saludos", 4-"Con El Mayor Gusto", 6-"Honda Tristeza", 13-"Futuro".
Then listen to tracks 3-"El Chamuyo", 8-"A Lo Pirincho", 11-"Felicia", 16-"Quejas de Bandoneón".
Obviously there is a difference in style and recording quality between the two groups.
If we now check in the discography of Domingo Federico as published by the Buenos Aires Tango Club (Revista del BATC, Año 4, Numero 9, Sept. 2000) we see that the titles from the second group were not recorded in the 40s. However they were recorded with a sexteto in 1968 !  ("A Lo Pirincho" was also recorded in 1966 but it seems likely that this track belongs to the 1968 recordings)

Finally the tracks with Carlos Vidal.
Here again something appears wrong with tracks 9-"Al Compás del Corazón", 18-"Percal", 19-"La Gente... Siempre La Gente" and 20-"Mansa".
Tracks 19 & 20 were recorded in 1969, according to the discography.
Although "Al Compás del Corazón" was also recorded in 1947 (also with Carlos Vidal), it seems likely that the version on this CD is the 1969 recording.
"Percal" was recorded for the first time by Federico in 1952, with Carlos Vidal. Later recordings were made in 1961, with Rubén Maciel, in 1969, again with Carlos Vidal, and in the late 90's with Héctor Catáneo and the Orq. Juvenil de Tango de la Universidad de Rosario. Difficult to say if it is the 1952 or 1969 recording, later than 1949 anyway...

Interesting detail : of the 'misplaced' themes, two ("A Lo Pirincho" and "Mansa") are coauthored by Haydee Cardón, the woman that Domingo Federico meets in 1958. They married and the couple went to live in Rosario.

EB80 - Francisco Lomuto - "Amor y Celos"

There are no singers given for track 1 "Nunca Más". They are the same as for track 12 "Muñequita" : Fernando Díaz and Alberto Acuña, implying that the recording is from 1931, not 1927 as indicated.
With the exception of the misplaced track 1, the other tracks are chronologically ordered.
Tracks 2-11 : Odeon recordings between 1928 and 1931.
Tracks 12-20 : RCA Víctor recordings between 1931 and 1938 (where track 1 should have appeared).
For some unknown reason, Odeon never reedited their Lomuto material and European labels like El Bandoneon and Harlequin seem to be the only source for these recordings.

EB82 - Pedro Laurenz - "Milonga de mis Amores"

If you are dancing in a milonga in Buenos Aires and your partner suddenly says : "Hey, that's my daddy", don't turn your head to see who just entered. The one referred to may be as well the one who is singing the lyrics of the music you are dancing to. This story was recently told at one of the TodoTango forums in relation to Juan Carlos Casas, extensively covered on this volume.

But this couple wasn't dancing to "Abandono", track 2, as, unlike El Bandoneon claims, the vocalist is Héctor Farrel, not Juan Carlos Casas. Héctor Farrel also recorded with Laurenz "La Milonga de mis Amores" (which seems to be better known as the instrumental version, track 20 on this CD) and the ranchera "Enamorado". Together with "Arrabal" (track 1 on this CD) these 4 themes were the first recordings by Pedro Laurenz as a director, in 1937, for RCA Víctor. Amazing, as Pedro Laurenz was already directing his own orchestra since 1934 and was very popular.

Neither was this couple dancing to "Al verla pasar", track 12. Again not Juan Carlos Casas, but Martín Podesta. His higher pitched voice can also be heard on "La vida es una milonga" and on one of the first recordings of the beautiful wals "Flores del alma" (1942), both with Pedro Laurenz. By the way, Martín Podesta (true name Fidel Martin Carrouche) is not related to that other Laurenz vocalist Alberta Podestá (true name Alejandro Washington Alé).

EB87 - Adolfo Carabelli 1931-1933 - "Cuatro Palabras"

I find it hard to believe that Charlo sings "Tomala Con Soda" (Track 18). Sounds more like  Carlos Lafuente to me...

EB95 - Edgardo Donato 1935-1942 - "A Media Luz"

Christoph (from Austria) informs us that on track 18, "Un Libro", the vocalist is Horacio Lagos and not Romeo Gavio, as mentioned on the CD.

In relation to Romeo Gavio it is worth mentioning that this is the same person as the Uruguayan violinist and orchestra director Romeo Gavioli (1912-1957). For some unknown reason, as  a vocalist in Donato's orchestra he used the name Gavio (it barely qualifies as a pseudonym ;-) ). Some of his work as a director has been reedited by the Sondor label.

EB109 - Juan D'Arienzo con Alberto Echagüe - 1939-1952

Track 18, Candombe Oriental (1941), remains a bit misplaced in this collection as the singer is Alberto Reynal, not Alberto Echagüe.
Echagüe didn't sing with the orchestra at that time (he left in 1940 and returned in 1944), see also the discography description of Juan D'Arienzo.

EB110 - Angel D'Agostino & Angel Vargas - "Yo soy de Parque Patricios" (1941-1946)

Mike Lavocah informs us that track 14, "Un Copetín" is not the recording made with Angel Vargas (in 1941) but a later recording with Rubén Cané, from 1952.
At that time, Angel Vargas had already left Angel D'Agostino and was performing as a soloist with his own orchestra.

EB123 - Homenaje a La Guardia Vieja del Tango : Banda Municipal de la Ciudad de Buenos Aires (1908-1909)

An interesting CD of surprisingly good sound quality.
Track 9, "Cosa Linda Barata (L. Teisseire)", is obviously "Hotel Victoria" by Feliciano Latasa, composed in 1906.
"Cosa Buena, Linda y Barata" was the original title of the tango by Luis Teisseire which is now known as "Bar Exposición".

("Cosa Buena, Linda y Barata" - "Something good, nice and cheap", was an imitation of the sales cry of the Turks at the market. Thanks to Angel Yonadi for this information)

EB128 - Homenaje a La Guardia Vieja del Tango : Quinteto Criollo El Aleman (1913), Quinteto Criollo Tano Genaro (1914)

Buy 20, get 21 ! Indeed, this CD contains one more track than indicated on the sleeve.
The section by "El Aleman" Arturo Bernstein contains many tracks which are little known but track 6 is readily and correctly identified as "El Caburé".  The second section by El Tano Genaro seems to be correct at easily verifiable tracks (El Entrerriano, Rodriguez Peña, Lagrimas y Sonrisas, up to the 20th track Viento en Popa). Therefore the 'mystery track', a vals, seems to be a true 21th track. If anybody knows what it is, please let me know...

It is not just Blue Moon...

"Evita's Tango" (©1996), a very good compilation with a cheap title, a joint production by Milan Sur (known from their Piazzolla CDs) and BMG Argentina (which owns the RCA Víctor catalog). According to the documentation accompanying the CD there are 3 tracks by Roberto Goyeneche :

  • track 8 : Barrio de Tango, with Anibal Troilo
  • track 18 : Ventanita Florida (no orchestra specified)
  • track 19 : El Ultimo Organito (no orchestra specified)
Only track 8 is effectively by El Polaco (the 1971 recording).
Track 18 is by Angel Vargas (with his orchestra directed by Edelmiro D'Amario, 1955 - RCA Víctor).
Track 19 is by Edmundo Rivero (with accompaniment of Anibal Troilo, 1949 - RCA Víctor).
BMG Argentina should have known..., shouldn't they ?

"Francisco Canaro : Ojos Negros", from Magenta (n° 9053), an Argentinian label. If we have to believe the guys from Magenta, all tracks were recorded in 1928 or 1938. Very funny, the CD includes also "Bandoneón Arrabalero" with Isabel de Grana, "from 1928" : Isabel de Grana was born in 1930 ;-)))
For those who own this CD, here is the list of recording years (the year between [] is the one given by Magenta). I am indebted to information supplied by Mike Lavocah (see EB3) for identifying some of the Quinteto Pirincho tracks.

1) Pájaro Azul [1928] : 1964
2) Milonga Con Variaciones [1938] : 1942 (Quinteto Pirincho)
3) Ojos Negros [1928], I am not sure about this one but it could be the 1932 recording
4) Arrabalera [1938] : 1950 (Quinteto Pirincho)
5) Tierra Negra [1938] : 1951 (Quinteto Pirincho) 
6) Quiero Verte Una Vez Más [1928] : 1961 (in 1928 it would have been quite a performance by 1-year old Ernesto Rondó)
7) Canto Por No Llorar [1928] : 1931
8) Bandoneón Arrabalero [1928] : 1961
9) El Internado [1938] : 1952 (Quinteto Pirincho)
10) Tres Esperanzas [1928] : 1960 (I know this is getting boring, but in 1928 it would have been quite a performance by 5-year old Eduardo Adrián)
11) A la Gran Muñeca [1938] : 1951 (Quinteto Pirincho)
12) El Triunfo [1928] : remains unidentified
13) Vibraciones del Alma [1938] : 1956
14) Recuerdos [1938] : 1937 - hey, we are getting close here (Quinteto Pirincho/Don Pancho)
15) Tiempos Viejos [1928] : 1961 (did I mention already that in 1928 it would have been quite a performance by 1-year old Ernesto Rondó ?)
16) Si Yo Fuera Millonario [1928] : 1933

What if we read the years supplied by Magenta as "years of composition"? In some cases we seem to get closer, but, apart from being unusual, it still would not fit all : "Vibraciones del alma" was already recorded in 1916, "Milonga Con Variaciones" was already recorded in 1927, "A la Gran Muñeca" goes back as far as 1919 (as part of a stage play) etc...